Today, with a recording, he can hear the thing enough times until he really gets acquainted with the language, and then he can begin to make an estimate of the intrinsic, aesthetic value of that piece of music. — Leo Ornstein Copy Share Image
Today each composer is not only involved in aesthetics, but he's actually trying to create his own language. — Leo Ornstein Copy Share Image
The danger of that - and there's a grave danger that I, myself, have to be very aware of - is that you become… — Leo Ornstein Copy Share Image
We can use techniques in modifying things, in controlling things, but the first impulse has to be something that you simply cannot make just… — Leo Ornstein Copy Share Image
A person improvising is sometimes very fortunate that just at that second things coincide. — Leo Ornstein Copy Share Image
Because essentially Schoenberg was an extremely gifted man. And in spite of many of his theories and so on, when he really began to… — Leo Ornstein Copy Share Image
To the person that deals in visualizations, I suppose there is something rather exciting about a whole set of people - they all going… — Leo Ornstein Copy Share Image
You write it down because finally, when it's written down you do get it out of your system somewhat. — Leo Ornstein Copy Share Image
By the visual pattern, but mostly I'm guided entirely by my ear, what I hear. — Leo Ornstein Copy Share Image
It doesn't necessarily mean at all that the composer plays his own works best. — Leo Ornstein Copy Share Image
By the way, the point between rationality and what we would call the irrational is a very difficult point to establish. There’s no specific… — Leo Ornstein Copy Share Image
The difference between the student and the born composer is he really hears the thing, and they have to stage it and manipulate it… — Leo Ornstein Copy Share Image
